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(left) Occupy Boston , October 11, 2011; (right) Honoré Daumier, The Uprising , 1860

(left) Occupy Boston , October 11, 2011; (right) Honoré Daumier, The Uprising , 1860. Paul Cézanne & Georges Seurat Post-Impressionism. Paul Cézanne (French, 1839-1906), photo-portrait, 1861 (year of first stay in Paris). “The Master of Aix”.

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(left) Occupy Boston , October 11, 2011; (right) Honoré Daumier, The Uprising , 1860

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  1. (left) Occupy Boston, October 11, 2011; (right) Honoré Daumier, The Uprising, 1860

  2. Paul Cézanne & Georges SeuratPost-Impressionism

  3. Paul Cézanne (French, 1839-1906), photo-portrait, 1861 (year of first stay in Paris) “The Master of Aix”

  4. (left) PaulCézanne, Self Portrait, 1878-80. Compare with (right) Pablo Picasso, Portrait of Vollard, 1910 (Analytic Cubism)“What forces our interest is Cézanne’s Anxiety. That’s Cézanne’s lesson.”Pablo Picasso

  5. "I had a dream the other day. I had written a beautiful book, a wonderful book, which you had illustrated with beautiful, wonderful pictures. Both of our names shone in letters of gold on the first page and, inseparable to this fraternity of genius, passed on to posterity." Letter to Paul Cézanne from Emile Zola From Paris, early 1860’s

  6. Paul Cézanne, Academic study: Male Nude, 1862

  7. Paul Cézanne, Father of the Artist (Louis Auguste), 1866

  8. Stock, caricature of Paul Cézanne with the two painting rejected by the Salon jury of 1870. (right) Portrait of Achille Emperaire, 1867-68, oil on canvas, 78 3/4 x 48 in., Musée d'Orsay, Paris. Intentionally lacked all the elements of charm, grace and finish appreciated by the jury.

  9. Paul Cézanne, The Abduction, 1867

  10. Paul Cézanne, The Murder, 1870

  11. (left) Camille Pissarro(1830-1903), Louveciennes, 1872. Compare with(right) Paul Cézanne,Louveciennes, 1872, 73 x 92 cm, oil on canvas Transformation of Cézanne’s style through the Impressionism of Pissarro Modernism developed through acts of exchange and discussions, rather than through isolated enterprises.

  12. (left) Paul Cézanne, The Hanged Man's House, 1873, oil on canvas, 22 x 26”, Musée d'Orsay, Paris – breakthrough and beginning of mature style.(right) CamillePissarro, Red Roofs: Auvers sur Oise, 1877

  13. Paul Cézanne, The Bay from L’Estaque, 1885, 31x39”, Chicago Institute

  14. Paul Cézanne, Mont Sainte-Victoire Seen from les Lauves1902-6, oil on canvas, 25 x 32”

  15. Auguste Renoir (left), Mont Sainte-Victoire, 1889. Compare withPaulCézanne, Mont Sainte-Victoire, 1889. The artists painted these paintings together in Aix, en plein aire.

  16. Paul Cézanne, Still Life with Basket of Apples, 1890-95, oil on canvas 24 x 31,” The Art Institute of Chicago

  17. Paul Cézanne, Still Life with Plaster Cupid, oil on canvas, c.1895 (Courtauld Gallery, London)http://vimeo.com/18214834

  18. Georges Seurat (French, 1859-1891, lived 31 years)Neo-Impressionism (Divisionism, Pointillism, Scientific Impressionism, Chromo-luminism)Overheard at a Neo-Impressionist exhibition in 1894 : “It’s done mechanically?” “No, Monsieur, by hand.” The Eiffel Tower, 1889, 9 ½ X 6”, Fine Arts Museums, San Francisco

  19. Georges Seurat, (left) Academic Study, c. 1875-1879, chalk drawingSeurat, Embroidery: The Artist’s Mother, 1882-83, conté crayon on ingres paper 12 x 9 “

  20. Georges Seurat, ASunday Afternoon on the Island of la Grande Jatte, 1884-86, o/c, 6’ 9” x 10’ Art Institute of Chicago. Artist was 25 years old

  21. Detail of La Grande Jatte (dog next to monkey) showing Pointillist technique

  22. Georges Seurat, Child in White, and Couple, preparatory drawings for La Grande Jatte,1884

  23. Georges Seurat, oil studies for La Grande Jatte

  24. Georges Seurat (1859-91) La Grande Jatte, 1884, compared with (below) Puvis de Chavannes (French Symbolist, 1824-98) The Sacred Grove, 1884, part of mural for the Lyons Museum of Fine Art, 181 x 419.” Seurat assisted Puvis de Chavannes on this work.

  25. Seurat, La Grande Jatte compared with Pierro Della Francesca, The True Cross, 1466, early Italian Renaissance fresco

  26. Paul Signac (French 1863-1935), Neo-ImpressionismAgainst the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints: Portrait of M. Félix Fénéon in 1890, 1890, o/c, 29 x 36”

  27. Paul Signac, The Gulf of Sainte Tropez, 1892compared with Henri Matisse, Luxe, Calme, et Volupté, 1904Signac and Matisse painted side by side in Sainte Tropez

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